Find the long-stemmed rose in this picture — I mean, piazza. (Foto: The Organizing Committee).And this is how it was intended to look when it was full of appropriately colored participants. (Foto: The Organizing Committee.)
April 25, as all the world knows, is a double holiday here. Not only is the day a national holiday (National Liberation Day), but it is the feast day of Marco, one of the four evangelists and the city’s (once republic’s) patron saint.
There are several ways to observe either or both of these memorable events, but this year another element was added: The Living Rose, or The Human Rose, or The Rose by Any Other Name, or however one wants to put it.
Alberto Toso Fei, a Venetian writer, and Elena Tagliapietra, an artist, came up with a new way to celebrate the traditional “bocolo,” or long-stemmed red rose, which is the customary Venetian homage from a gentleman to his ladylove, or wife, or girlfriend (perhaps both?), sister, aunt, or other deserving feminine personage in his life or family. But why give a rose when you can be one?
Some time earlier, the Gazzettino offered its readers the possibility of applying to participate as one of some 1,000 people who would form the design of the bocolo in the Piazza San Marco on April 25. This would be a sort of flash mob/performance art creation, to last only long enough to be photographed and filmed from the campanile of San Marco.
So we applied. And we were accepted, notified via e-mail, and asked to appear between 1:30 and 2:00 dressed in as much red garb as we could muster. We would embody part of Petal #12.
The day was hot and sunny, but there was a breeze, and although normally I wouldn’t have gone near the Piazza San Marco on a national holiday, the chaos was tolerable and the other rose-components all contributed to a surprisingly sprightly atmosphere.
Almost the best part of the entire event, which went off without so much as a drooping leaf, was to glimpse the by-now famous Tiziana Agostini, she of the mangled-nizioleti fame. She came to join in, dressed in red, which I think is somewhere beyond amazing, considering that the event had the additional purpose of raising funds to pay for the repair of the nizioleti in the area of the piazza. A lesser person might have avoided the piazza, saying “Nizioleti? What nizioleti?” But she was there, and I give her a fistful of gold stars.
I read that there were a number of other meanings, purposes, significances, and so on which had been layered onto the event. One headline referred to it as a “cry to the world from Venice,” to show that Venice is still a living city and not just a touristic snakepit. I merely pass that along.
Down at Piazza-level, though, the only thing that seemed to matter was enjoying a few minutes of doing something unusual that made you smile. Not that I’m against Deep Meaning, but for me, the smiling was reason enough to do it. Here’s the YouTube link: http://youtu.be/ZRL4Xh8VDkE
Dimensions: The Gazzettino says that the bloom covered some 850 square meters (9,149 square feet), and the stem and leaves some 150 meters (1,614 square feet). I cannot understand, sitting here, how that might be. It sounds like the size of an average Adirondack Great Camp, the kind that were built by the robber barons of the late 19th-century. But let that go. It didn’t last long enough for its size to really matter.
It was fun. Indubitably there are things that are more important, but God knows there’s a dangerous shortage of frivolity around here, so I’d be happy to leave it at that.
If we saved Venice in the meantime, that’s nice too.
Section 12 looked like this, in the early stages of reporting for duty. It was the upper outer right-hand petal, as you look down at the bocolo from the campanile.Each section was easily identified by the number on official backs (and on balloons). Here participants checked in with the individual managing the list of names, signed a release form, and moved on to the face-painting stage.The face-painter also painted on arms and foreheads, but many went with the simple stencil-on-cheek.Lino, post-painting. He is still holding the container of gummy watercolor-based red ink. Yes, that’s a toothpick in his mouth. It wouldn’t be him without his toothpick.Your correspondent. I could have had roses all over me, but I like the subtle approach.Red people were everywhere, but that’s only because I didn’t think to roam all the way down to the green section.Many ladies were already armed with their bocolo.
The definition of “red” ran a generous gamut.One dauntless lad brought out his red terrycloth bathrobe.This gentleman wasn’t part of the event — he had bigger things on his mind. The two bocolos (bocoli?) in his hand were clearly destined for important ladies, who seemed to be running slightly late. I missed my chance to see them arrive. He was extremely patient, so I hope all went as planned.The Piazza is usually besieged with illegal rose-sellers, but on April 25 the only visible vendors were for the Red Cross.Lino’s son, Marco, is the only gondolier I noticed who installed a bocolo in the place of honor on his gondola.
Carnival has become one of my least favorite things about Venice, because each year its negative aspects increasingly outweigh the positive.
I am referring to the Mega-Commercial-Highly-Promoted Carnival whose vortex is the Piazza San Marco. But Carnival in its small, neighborhood version continues to charm me, mainly because it almost exclusively involves children (the smaller, the better) and their doting relatives. Random frolicking. Dressing up for no reason (by which I mean, not the reason of being photographed to, for, by, or with anyone, particularly tourists). Throwing fistfuls of confetti anywhere.
I don’t need to look at the calendar to know that Carnival has, as of today, officially begun. For the past few days the signs have been unmistakable.
Here are a few:
This pastry shop/cafe produces wonderful Carnival sweets (galani and frittelle, in case you’re wondering), even though they are overpriced. But I do like the way the words are composed, as if someone was more accustomed to composing anonymous ransom notes using cutout newspaper letters.There have been indiscriminate explosions of confetti, increasing in quantity and range, for a few days now. The perpetrators are invisible.Climbing the stairs to visit a friend two days ago, I discovered this mysterious harbinger of Carnival: The princess costume. Just add princess and throw confetti.
Over the past decade (or so) there have been periodic swells of indignation and revulsion toward the monster posters screwed (or nailed, or glued, or whatever — I’m sticking with screwed for obvious reasons) to many facades in or near the Piazza San Marco.
The posters’ reason for being was not to inspire anger, because there’s enough of that around already to supply everybody in the city with two tons per year. It was to provide money, via the advertiser (politely referred to as “sponsor”), for the restoration and repair work which was supposed to be going on under the poster.
The billboard on the Ala Napoleonica — the stretch of building facing the basilica — measured 78 feet (24 meters) long, occupying somewhat less than half the 187 feet (57 meters) of the entire facade. However noble its intentions may have been, that’s still a honking great lot of commercial space to tack onto a world-class monument.
But now it’s gone!
Before we rejoice, which we certainly will, let me mention that it was there for eight years. While that fact is sinking in, I pause to ask myself — or anyone listening — what degree of restoration could have been required on a sheet of stone, however ingeniously carved or damaged by airborne pollutants, that would require eight years. Seventy-eight feet is big when you think of it as the length of the blue whale, but it’s not really all that long for a building. It’s the length of a tennis court.
The sponsors changed periodically, but the billboard remained, as they say here, a punch in the eye. Still, you can get used to almost anything. The only reason I noticed this ad was because of the nifty red spot. Otherwise I probably wouldn’t have paid any attention. In any case, I wouldn’t have bought their product, so it seems like a waste of 78 perfectly good feet.
So a little arithmetic: 78 feet repaired in 8 years, means that they did nine feet a year. That’s not even one foot per month. I’d wager that archaeologists unearthing prehistoric tombs with eyebrow brushes get more done in a year.
Naturally I’m indulging in a little cadenza there. It’s probable that the team wasn’t working every day for eight years. Or even every month.
But let’s move on. Why was the poster removed? Presumably because the work was finished, but one presumes at one’s peril here. The work might have been finished six years ago, who knows?
One reason might have been the cumulative effect of protest from Venetians, Italians, Europeans, and world citizens of assorted types. Protest, though, is an unreliable weapon; it either fails to fire, or is surprisingly inaccurate, or isn’t strong enough to pierce the armor of its target. I’m finished with that metaphor now.
It didn’t hurt that Ugo Soragni, the Regional Director of the Superintendency of Cultural Goods (Beni Culturali) had recently taken an interest in the situation. I interpret that to mean that he looked at the maxi-poster and said “Hold hard! And what culture does this belong to?”
But what is the determining factor in almost every decision, or lack thereof? One syllable…starts with “s”…we never have any…sounds like “bray”…”fray”…Schei! Yes, a city councilor reviewed some figures and pointed out that the maxi-poster did not appear to be the fountain of eternal money that had been supposed.
Now we’re on to something. The poster was ugly and unprofitable? Off with its head. And its scaffolding.
This is the scene this afternoon. The facade looks better already, even as the Frankenstein-swaddling is removed from the building’s face. But evidently this prime piece of edificial space will never be safe from somebody’s urge to use it to publicize something. Even if it’s only an innocent exhibition that’s being advertised, this expanse of stone is apparently beautiful only insofar as it’s flat and vertical, and facing the Piazza San Marco.Naturally the story doesn’t end so neatly. The flank of the Marciana Library is currently condemned to the same treatment. And it appears to be even larger than its recent neighbor on the Piazza.
The Piazza is big, but it’s not THAT big. I still don’t grasp how 80,000 people got in there. Or got out.
Probably nobody is thinking about New Year’s Eve anymore, no matter where they spent it. But here in Venice it’s not over yet, as the papers continue to publish a cascade of ever-more-detailed articles, personal stories, and editorials on how things went.
In a word: Badly.
So I’m going to back up from my earlier post and try this report again. Because in case you don’t know, the three most beautiful words in the English language are not “I love you” (though they’re not the worst, either).
Nope. The three MOST beautiful words are “You were right.” And in my case, its close cousin: “I was wrong.”
I admit that I felt uneasy writing that sunny little post about New Year’s Eve. Even as I wrote it, I had the strange feeling that I was unaccountably speaking in some unknown language from the planet where life is beautiful all the time.
I must have inadvertently disconnected my internal smoke-detector, because the news is demonstrating, in ever more lurid detail, why I will never go near the Piazza San Marco on the night of Saint Sylvester. And how inexplicably incapable the city is of organizing big events in some reasonable manner. And when I refer to the organization of big events, I have some small experience elsewhere; for example, the Fiesta of San Fermin at Pamplona, which I have attended twice. And I’d go back again, no matter how much I hate crowds, and one of many reasons is because it is organized and maintained in the most dazzlingly intelligent and diligent manner for nine solid days and nights. And a mere twelve hours drives Venice to its knees.
From 9:30 PM, rivers of young people arriving by train filled the streets heading toward the Piazza, smashing bottles and setting off firecrackers as they went.
Far from being a scene of frolic and light-hearted conviviality, as the night dragged on the Piazza San Marco (and Piazzale Roma, whence thousands tried eventually to depart the most beautiful city in the world) resembled a war zone, or a frat party of intercontinental dimensions. Words such as “assault,” “devastation,” and “outrage” highlight the reports of the night, and the morning after.
Piles of shattered glass bottles and pools of biological fluids from either or both ends of homo stupidusprostratus were only some of the abundant remains. There were also the bodies of comatose sleeping revelers scattered around the streets, lying where they fell when the fumes ran out.
People are obsessed by the damage that water can do to the Piazza, but somehow the maxi-posters and the maxi-mobs have come to seem normal. So millions have been spent to control the water, but virtually nothing to resolve what in fact should be much easier to deal with. I don’t get it.
The story in figures:
80,000 partyers, 10,000 more than the past two years. Most of the yobbos weren’t Venetian, but from everywhere else — what in New York are called “bridge and tunnel” people. I’ve seen them there at the St. Patrick’s Day parade, and it’s not lovely. It’s no lovelier here.
50 interventions by the 45 emergency medical personnel from the Green Cross, Civil Protection, and SUEM, the ambulance entity; most crises related to alcohol drunk, alcohol spilled (rendering the already wet pavement dangerously slippery), cuts by the broken glass of bottles blindly hurled into the air, blows to the head, and panic attacks caused by the mob and the explosions of firecrackers at close quarters.
100,000 euros ($135,868) the estimated cost to the city, excluding fireworks. This approximate number comprises: 60,000 euros for the collection and removal of 135 cubic meters (4,732 cubic feet)of garbage, of which 20 cubic meters (706 cubic feet) were of glass; 15,000 euros for the 60 Municipal Police agents on security duty. And the cost, not yet quantified, of the extra transport personnel (50 bus drivers and an unspecified number of vaporetto pilots). And the fuel required by the 20 garbage barges.
60 extra buses coming into Venice from the mainland; 123 extra buses between midnight and 7:00 AM from Venice to the mainland. Does this sound like a lot? Au contraire; the ACTV, in its wisdom, put on extra vaporettos, which worked well, but reduced the basic number of bus runs on a holiday eve. Because it’s, you know, a holiday, and the drivers want to be at home. New Year’s Eve in Venice, with reduced bus service. Explain this to the masses of tired, cold, exasperated people who were trying to get back home, who even overwhelmed the relatively few taxis in Piazzale Roma. Explain it to anybody, if you can. And I still can’t figure out how 50 extra bus drivers were sent to work if there were fewer buses. Or were they put to work scrolling the “Out of service” sign onto the buses’ forefronts?
The story in voices:
“It was hard, if not impossible, to move. Funky air, a mix of piss and drugs, the pavement “mined” with bottles, cans, and every sort of garbage…The Piazza was a disaster. Electronic music at full volume incited the crowd that was already drunk and out of control. A great number of young people had taken over, armed with every type of alcohol…the center of the Piazza was an inferno. Not just fireworks, but young people, Italian and foreign, were competing in a new entertainment: the launching of bottles…I didn’t see any security agents that would have forbidden this behavior…The day after, the marks remained on our city, heritage of humanity, devastated by barbarism.” (Margherita Gasco)
“According to a recent international survey, the night between the last and first of the year shows Venice to be among the principal capitals of the festivities on the planet. This shouldn’t prevent us from … reflecting critically on how these events are carried out — if they’re worth the trouble, if they still have their original sense.” (Gianfranco Bettin, the assessore for the Environment).
“Such a high number of people wasn’t predicted, nor predictable,” said Angela Vettese, the assessore of Culture and Tourism Development. (It wasn’t predictable? Does she not read tourism surveys?). “In the future, more prudence is necessary to protect the Piazza, and to invest in more surveillance, so that the police can check, count, and keep access to the Piazza within a determined limit. Furthermore, it’s necessary to organize only high-quality events, with spectacles that involve the public (more involved than they already were?), maintaining greater tranquillity.” She’s still new on the job, or she wouldn’t be talking like that; all these things have been said before, and before, and even before that.
A tranquil morning in late October.
Social network comments were divided between those who think New Year’s Eve in the Piazza is the greatest thing ever, and those who think the care and protection of the already fragile city is more important; those who insist it was just a normal night of festivity, and those who characterize is as another example of sheer lunacy.
“I urge the church to make itself heard, seeing that the civil authorities don’t feel any special need to safeguard the Piazza San Marco…Can we imagine an event like last Tuesday in the Piazza San Pietro in Rome?” (Franco Miracco, art historian).
“San Marco can’t be the only stage for events” (Mons. Antonio Meneguolo, diocese of Venice). “It’s not the number of people which creates bad behavior,” he said. “We can increase the security but it would be better to organize other activities elsewhere, and remove the emphasis of the publicity for “New Year’s in the Piazza,” seeing how the event ends up.”
“Venice continues to be seen as a city to exploit touristically down to the bone,” said Lidia Fersuoch, president of Italia Nostra. “More than limit access to the Piazza, it’s necessary to limited access to the city itself, because it’s impossible to contain more than a certain number of visitors.”
“Certainly, if we take as the limit the Pink Floyd concert of 1989, anything even just barely below that is considered tolerable…But hurling bottles, explosion of firecrackers, people who urinate and vomit in the streets, are these part of the normal course of public socializing? For some people, yes, but for us, no. Especially if it happens in the Piazza San Marco, which isn’t just any piazza, but a monumental area, as it was defined when concerts were stopped (because they have an excessive impact on the Piazza itself)… But why no to concerts, and yes to New Year’s Eve? We speak of “outrage” precisely because it’s a monumental area; you can’t remain indifferent seeing people climbing up the 16th-century columns of the Loggetta of Sansovino at the feet of the campanile. The piazza has always been the place for socializing, for events. But what events?” (Davide Scalzotto)
I think the Piazza looks wonderful like this. It’s not that I’m anti-social, but on days like this it looks peaceful, and clean, and safe. I don’t mean I feel safe, I mean it looks safe from us.
Here is what I ask myself and anyone who might be listening: There is a Superintendency of architecture, of art, of treasures. There is the Polizia di Stato, the carabinieri, the municipal police, the Guardia di Finanza. There are ordinances forbidding almost every dangerous and tumultuous form of behavior and the hazardous objects associated with them. Why is there no evident point at which any of these elements meet? The behavior and objects are at Point A, and any uniformed persons authorized to intervene are at Points Q, X, and Z. All told, there may have been more garbage collectors than anybody else at work in the Piazza, which seems backwards, to me.
In theory, if there were more agents of public order on duty, there would be less need for the First Aid stations, not to mention the ambulances and garbagemen.
But let me move on to a much more distressing thought.
Venice is a UNESCO World Heritage Site, which, unlike many of the 981 sites on their list, is a real place where real people live and move and have their being. This presents special problems which nobody seems able to anticipate, or resolve. I am at a loss to say why, except that with ten fingers per city councilor, there’s plenty for pointing at other people.
There are 49 UNESCO sites in Italy, more than any other country on earth. So far, none is marked as being “in danger.” I think Venice should be. I cannot conceive of shenanigans such as New Year’s Eve in the Piazza San Marco being tolerated in Angkor, or Machu Picchu, or the Alhambra, or the Red Fort Complex, or the Etruscan Necropolises, or the Potala Palace, or the Galapagos Islands. And this is not the first time. And yet, it goes on.
And I’ll say one more thing, as long as I’m on the subject: Of all the “properties” on UNESCO’s list of World Heritage Sites, only two, so far, have been de-listed. The reasons are given on this page of their website.
Between the catastrophes visited upon Venice under the ever-fresh rubber stamp of the Superintendency of Architectural Treasures (the tormented issue of the maxi-posters in the San Marco area has only been moderately resolved, among other things), and the continued abuse of the lagoon, which is also part of the World Heritage designation (from the Canale dei Petroli to MoSE and now to the imminent approval of the digging of the Contorta canal), I don’t think it’s inconceivable that eventually Venice could see itself de-listed from the UNESCO panoply.
This is not the most improbable scenario I’ve ever come up with. Except that I’d love to be able to say “I was wrong.”
